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Hi Active Melody Community!
So here’s how it’s going to work this month:
1) Download this MP3 jam track, created specifically for this challenge (this isn’t from a lesson) – if the MP3 file just automatically plays when you click the link, you’ll need to either RIGHT click on the link itself if you’re on a Windows computer and then choose the “Save As..” option. If you’re on a Mac, hold down the “Control” key and click on the link.
2) The chords should be as follows: C minor, F minor, C minor, D# major, F major, C minor
3) Feel free to play those chords however you want, triads, harmonized 3rds, harmonized 6ths, fill licks, etc. I’ll leave that up to you!
4) If you want to take things to the next level, try throwing in a lead for the 2nd time through.
**If you need assistance with how to record yourself and post to the forum see this post**
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GROUND RULES FOR PARTICIPATION:
1. Post your Youtube, Vimeo, or Soundcloud links of you playing your chosen lesson anytime between Friday, April 24, through Sunday, April 26, 10:00 pm CST. Please do not submit earlier. I think it is fun to see everyone’s posts at once.
2. Submit individually in the “Active Melody Member Challenge Response Submissions” forum. Title your posts “April 2020 Challenge Response – [Your AM Screen Name]”
3. If you submit more than one video or audio link for your challenge submission, please indicate in your challenge post which link you want to be added to the consolidated post. I will pick my favorite if one is not indicated. Only one video or audio link per member will be posted in the consolidated post. This saves me time and allows me to see more of my family on challenge submission weekends.
4. Have fun and don’t be intimidated by these challenges!!! Use these challenges to help you set goals and complete them by a deadline. You can also use this as an opportunity to chat with your fellow Active Melody members and share tips or tricks on this challenge that you think are useful.
5. In my opinion, it is better to show progress versus perfection with these challenges. So if you are a beginner and can only play the first couple of measures. That is completely ok. If you play two more measures of the next challenge piece than you did the previous one, you are on track to getting better. This is what these challenges are about…you learning guitar and getting better. Remember we are all here to support you no matter what your current playing level is.
PREMIUM MEMBERS: DON’T FORGET ABOUT THE ACTIVE MELODY T-SHIRT CHALLENGE:
Premium members can earn a free AM T-Shirt as indicated here:
https://www.activemelody.com/forums/topic/active-melody-t-shirt-challenge2/I look forward to seeing everyone’s posts! 🙂
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Very cool, yes agree good idea “creativity” using chord tones.. actually what you are aiming for is what i’ve been studying lately..targetinging the structure of all the chord tones in any key or pregression ,, okay got it! ty again for a wonderful site of yours Brian! hopefully all at home are safe and well man during this crazy pandemic!
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Hey Brian, would you be open to using the rhythm of your choosing from this challenge in an upcoming lesson? You could rerecord it but it is a site member’s contribution to a lesson backing track? Thoughts?
I say why not Bryce.. seriously most of us are entry level students.. hey man welcome back Bryce!
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I’m going to run it through Audacity a couple of times changing the speed (there’s a tempo function) probably 80% and 60% to start with and either work up or find something that has a feels right vibe.
I’m used to starting off with a slow track and a pdf might create myself one of those as well.
I’ve already run it through reaper, changed the bpm to 100 and it sounds pretty good, going to 80bpm is too slow for my liking..
..Billy..
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Why D# instead of G major
D# major is the relative to C minor btw
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Hi Brian, The backing track sounds like 4 measures of Cm, the 1 1/2 measures of Fm, and then 2 measures of Cm, 1 measure of D#maj, 1 measure of F maj, 2 measures of Cm. Is that correct? The Fm sounds weird after the 6th beat???
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Interesting challenge ! I’m in.
But trying to understand the theory a bit here, it seems that Cm is the 1-chord, Fm would be the 4-chord, and D# would be the 3-chord ? Looking a the circle of fifths here. Would you call this a 1-4-3 chord progression then ?Peter
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I ramped it up to 110 BPM (or 220, depending on how you count it) and then it works great for funk. You can play those alternate chord positions (a.k.a. CAGED) all up and down the neck and let your pinky run wild. Cory Wong (one of the greatest modern funk players) explains how to do it:
Sunjamr Steve
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Ok, I have a question……
Since the jam track consists of only drums and bass, what determines that the chords should be in the minor key (Cm, Fm) as opposed to major key (C, F) ??
♪JoLa
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Good question, and technically nothing determines what those chords should be. I actually thought about leaving this totally up for interpretation, but then I thought it would be a better lesson if I forced it as either major or minor – and that’s more of a real-world scenario. So I just went ahead and determined the chords for that reason.. so we can all be on the same page 🙂
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Ok, I have a question……
Since the jam track consists of only drums and bass, what determines that the chords should be in the minor key (Cm, Fm) as opposed to major key (C, F) ??
Jola if you haven’t yet try understanding Circle of 5ths diagram .. i already jammed to this track..it’s cool!
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Hi Brian, The backing track sounds like 4 measures of Cm, the 1 1/2 measures of Fm, and then 2 measures of Cm, 1 measure of D#maj, 1 measure of F maj, 2 measures of Cm. Is that correct? The Fm sounds weird after the 6th beat???
Thanks. Your post is most helpful.
The melody of the notes is what expresses the art of music . 🙂 6stringerPete
It really is all about ”melody”. The melody comes from a language from our heart. Our heart is the muscle in music harmony. The melody is the sweetness that it pumps into our musical thoughts on the fretboard. 🙂 Pete
Pete
Moderator -
Not sure if this is right?
Notes that can be used are…1. C
2. D
3. Eb
4. F
5. G
6. Ab
7. BbCan one use other notes also? like sliding into the above notes?
The melody of the notes is what expresses the art of music . 🙂 6stringerPete
It really is all about ”melody”. The melody comes from a language from our heart. Our heart is the muscle in music harmony. The melody is the sweetness that it pumps into our musical thoughts on the fretboard. 🙂 Pete
Pete
Moderator -
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The point discussed by Jola and John about the major/minor ambiguity of the backing track is interesting and also arose in the January challenge when the backing track to EP327 was used. Brian’s lead part was clearly in the minor key while many members successfully played in the major. This time as you say the challenge is to play minor.
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To Brian (Active Melody CEO) and Other AM Members,
In principle, isn’t this April’s Challenge just an up tempo version of the January 2020 Challenge (EP327)?
Both are backing tracks (just bass in the January Challenge-EP327) and bass and drums in the upcoming April Challenge. Brian then asks us to fill in the rhythm guitar and/or lead parts. Brian gave us the main chords to use for both challenges.
Like Charjo and JoLa noted, the April Challenge has to be in the minor key (Cm) because Brian said so, whereas the April Challenge could have been in a minor or major key (Em or Emaj) because Brian didn’t say so.)
Thanks,
Larry -
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I don’t think many have a good enough idea what the lesson challenge is about.. I think I do Believe I stated it first.. anything else is confusing readers.. go back to my first post if it hasn’t been (filtered) from this thread..BTW it’s so easy to hear the mp3 jamtrack and yeah it can start major or minor.. it is C minor key and this track progression by intervals it is a 134 one being C minor ..or major .. just listen and use the intervals based on which key you start as for your progression..
counting off the root note C scales .. ( minor or major) diatonic intervals will be obvious to the good ear.. in key of C major..
In say for my chosen progression starting with the C Major bar chord the third will be D# MAJOR and the fourth will be F major
But as for what else , I think the plan is to use common basic theory.. I suggest all here from what I read.. not that it is taught very well here.. but I suggest a basic search on youtube for how to make use of the circle of fifths
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Very perceptive question, Jola and I think the answer really is only because Brian said. The bass line really is ambiguous, you could substitute major or minor.
Johnyes the real answer is not having to worry about ambiguos.. couple of basic theory concepts .. learn and understand the meaning of DIATONIC INTERVALS and also recommend using a circle of fifths diagram..
it wouldn’t be half as confusing or ambiguos
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John,
I agree the i, III and iv chords are diatonic in the key of C minor while the F major is not. It is also easier to solo in C minor pentatonic (C minor) if you consider this as the key C minor and that’s probably why Brian specified the chords. I also think he tried to throw us a curve with the F major to stretch us a little.
I’m only saying the bass track is mostly composed of root notes and doesn’t really specify major of minor. For example, you could play the whole progression in dominant chords, still cover the bass track, and the circle of fifth’s isn’t going to help you much there. It actually sounds pretty good.
John -
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I have a challenge for Brian this month. Come up with a May lesson using only two chords, E and A connecting arpeggios with the major pentatonic scales. Throwing in a B where appropriate would be understandable. Then AM participates could write their own leads to it for the June challenge. In exchange I promise not to sing to it for the months of May and June.
My Gravy by Dave Teeter 2-24-2019
I found my gravy in ya baby
My glass will never run dry
I found my gravy in ya baby
My glass will never run dryYou know that I was lonely (he was so lonely)
Then my baby came along (I was just walkin)
Girl you really caught my eye (I really caught his eye)
And now we’ve bond together (like flour and water)
We’ll be together til we die (til he dies)I wake up in the morning (he wakes me every morning)
I want my cup of tea (I am his cup of tea)
You feel so good beside me (this is were I wanna be)
I’m a cooking and a bastin (you’re to hot to handle)
It feels so right to me (spoken: you feel good, baby)I found my gravy in ya baby (I wanna be your baby)
My glass will never run dry (our glass will never run dry)
I found my gravy in ya baby (I’ll always be your baby)
My glass will never run dry (our glass will never run dry){Lead}
You know I love ya baby (you know I love ya too!)
I’ve savored all these years (you know you were so hungry)
I gave them all to you (you got mine too, baby)
I found my gravy in ya baby (I’ll always be your baby)
My glass will never run dry (our glass will never run dry)
I found my gravy, I found my baby
Now my glass will never run dry
(I ‘wanna be your baby) You’ll always be my baby
(My glass will never run dry) our glass will never run dry
I found my baby, (I found ya baby)
((Now our glass will never))
((Now our glass will never))
((Now our glass will never, ever run dry))
[Deep bass:] Will never run dryDave T.
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John,
I agree the i, III and iv chords are diatonic in the key of C minor while the F major is not. It is also easier to solo in C minor pentatonic (C minor) if you consider this as the key C minor and that’s probably why Brian specified the chords. I also think he tried to throw us a curve with the F major to stretch us a little.
I’m only saying the bass track is mostly composed of root notes and doesn’t really specify major of minor. For example, you could play the whole progression in dominant chords, still cover the bass track, and the circle of fifth’s isn’t going to help you much there. It actually sounds pretty good.
JohnJohn, it’s borrowing chords, I’m not going to paste nothing other from the other pay site ..but for you are those no in the know ,, good reference to do your own research .. maybe copy paste this.. enjoy man.. BTW it’s basic theory and very useful tool ..
Borrowing Chords From Parallel Keys to Spice up Your Chord Progressions
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I used KEY of Cmaj that is what I hear in the jamtrack bass .. progression i made that’s fine is C major the one chord diatonic ,, i also hear in Brian’s jam track or what i chosen next i hear is the three chord Eb maj (parellel chord is my Eb major) and I hear the F major in Brian’s linked backing track that will be my four chord ..I can make substitute ckords and parallel chords ,, any progression i’m sure.. but this is what i hear and it fits good enough.. C Eb F 134 progression for starters/beginners here lol
BTW you can choose any Key within the 6 major diatonic or the 6 minor diatonic to make any progression .. a great tool as I mentioned once you kinda start studying how it is reliable is the circle of fifths.. anyway, I’m logged in the other premium site studying the lesson now. .. And it’s not like it’s something to learn after reading,,it’s like anything else.. just a tool.. like a carpenters ruler etc.. the circle of fifths is a terrific tool once you understand how to use it.
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I don’t know if I can participate in the challenge this time, but maybe it’s a good thing, F & Fm at the same time? I’m afraid of being arrested <img alt=
src=”https://s.w.org/images/core/emoji/12.0.0-1/svg/1f601.svg” />It’s going to be a lonely seder this year. Have a Happy Pesach Isreal and keep well.
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Not sure if this is right?
Notes that can be used are…1. C
2. D
3. Eb
4. F
5. G
6. Ab
7. BbCan one use other notes also? like sliding into the above notes?
That’s what I’m hearing too Pete, and I’d say yes you can use other notes if you ‘Like the sound of it’ 😉 and it fits the progression Brian has specified as the basis of the challenge.
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Interesting Observation on D#major and Fmaj Chords,
Take your guitar and bar every sting at the 8th fret with your index finger. Now play stings 2,3, and 4 and notice that you have played exactly the D#major chord. But if you look, this is also the exact same notes found in Pattern 1 of the Cminor pentatonic scale. Now, slide your index finger down two frets to bar strings 2,3, and 4 at the 10th fret and you will play the Fmaj chord exactly. But notice that these three notes are also the exact same notes in Pattern 1 of the Cminor pentatonic scale.
So, I believe that the D#major and Fmaj chords sound good in Brian’s chord progression because they both contain only notes in the Cminor pentatonic scale.
Larry
P.S. Obviously, when you bar every string at the 8th fret with your index finger, this is where you go to make the full Cminor or Cmajor chords using your other fingers (using the standard “E” chord shape). -
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Interesting Observation on D#major and Fmaj Chords,
Take your guitar and bar every sting at the 8th fret with your index finger. Now play stings 2,3, and 4 and notice that you have played exactly the D#major chord. But if you look, this is also the exact same notes found in Pattern 1 of the Cminor pentatonic scale. Now, slide your index finger down two frets to bar strings 2,3, and 4 at the 10th fret and you will play the Fmaj chord exactly. But notice that these three notes are also the exact same notes in Pattern 1 of the Cminor pentatonic scale.
So, I believe that the D#major and Fmaj chords sound good in Brian’s chord progression because they both contain only notes in the Cminor pentatonic scale.
Larry
P.S. Obviously, when you bar every string at the 8th fret with your index finger, this is where you go to make the full Cminor or Cmajor chords using your other fingers (using the standard “E” chord shape).Hi Larry,
The D# (maj) Chords notes are not only in C minor but it is the III chord of C minor. Its just that its usually referred to as Eb (maj) so I don’t think there’s too much mystery about that one.
The F maj notes are interesting though. The 10th fret string 2 (the A of the F maj, I assume you counting the high e as string 1) isn’t in the C minor pentatonic, nor is it in the C minor scale. But it is a major 6th wrt to the root C and a major 6th is what gives the dorian mode its flavour. Its also a sound our ears are accustomed too because of that.
Whatever the theory though, Brian’s right, it does sound good!!
Andy
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idea…. chord fret position matters….
rgds
Hi David
You can start with minor pentatonic and go through everything if you like.
That would be the simplest version.Now the blues scheme lends itself well and can be perfectly associated with the minor pentatonic. So why not.
So far so good.It is of course completely out of the question whether you cannot add major pentatonic as well. Of course you can do it all! If you do it skillfully, you can even start with major pentatonic. That doesn’t just apply to this case.
Of course, it must remain harmonious for the human ear.It strikes me that the normal tone sequence within a pentatonic can also be easily interrupted by simply omitting one or more tones; the listener doesn’t expect that and makes everything a little more interesting.
In this case, the semitone D # reveals something.
If you look at pentatonic, you will see that D # (major pentatonic) and Cm (minor pentatonic) are both on the 8th fret of the fingerboard. D # and Cm are each shape 3.
This allows you to switch from minor to major perfectly, which can make everything much more interesting.But that is not a requirement. In some cases, a harmonic key turn from minor to major or vice versa can be cool over a short pause. That depends on the track.
I hope it helps a little!
Wilfried
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Hi.
I was referring a position on using chords.
C-7 on 8fret
F-9 on 8 fret
D# on 8fret (bass on 6fret)
F9 on 8th fret …
2 fingers always stay for all chords, only 2 notes of difference
that was my idea …for soloing …. I always try to mix pentatonic with chord notes (As exercise). But of course, your answer is much more complette.
rgds
David B.
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Hi Andy,
Thanks. You are correct. I flubbed on that. “The 10th fret string 2 (the A of the F maj, I assume you counting the high e as string 1)” isn’t in the Cmin pentatonic, it is in the Cmaj pentatonic. Yet when I do a walk-down here on the second string (play the 11th fret note, 10th fret note, and 8th fret note), and then play the Cminor chord, it sounds to my ear like the 10th fret note belongs in the Cminor scale.
Thanks for explaining why this could be.
Larry -
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I’ve been working on this and it’s stretching me in all the right places. All I’ve been working on for the last3 years is learning lead pieces and with this challenge, I’ve found that rhythm can be as difficult and challenging. I’m stretching and playing chords that are tough and I need to build up muscle strength and stretch fingers where they’ve never been. Thanks for this! I don’t know if I’ll finish this challenge by the deadline but I’m going to see it through and put down a lead track as well. Many thanks for the challenge, the exercise, the learning, and sharing your creative gems! I hope to do justice to as many as I’m able.
Thanks, B!
Richard -
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Thanks, good to know. I was hoping some one would respond. I guess I did know that because I use Eric Clapton EC, Air Force AF, DB Cooper for DB, GE Smith for GE, California for CA, perhaps Air Conditioning would be more appropriate, Fort Des Moines FD and Big for BG. I need aides to remember, it all gets so confusing.
Would the key of Eb positions III, VI, III, IV ##, VI Maj be correct for this piece?
Dave T.
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Thanks, good to know. I was hoping some one would respond. I guess I did know that because I use Eric Clapton EC, Air Force AF, DB Cooper for DB, GE Smith for GE, California for CA, perhaps Air Conditioning would be more appropriate, Fort Des Moines FD and Big for BG. I need aides to remember, it all gets so confusing.
Would the key of Eb positions III, VI, III, IV ##, VI Maj be correct for this piece?
Hi Dave
Yes, you could think of this as being in Eb in which case the numbers for the chords Brian has given us for the progression would be (lower case meaning minor)..
iv (C minor),
ii (F minor),
I (D# major/Eb major),You’ll still need to factor in what to play over the F major which as discussed above is not strictly in the key.
Andy
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So, I’ve got my rhythm portion down. I’m adding a lead component and have some observations, questions. On transitioning to the Fm, Substituting the G# for the G seems to be the ticket. Not sure why but it sounds right. Also, I’m working on just moving to the F major pentatonic when it shifts to the F chord. Again, it seems like a logical way to go instead of targeting chord notes. Am I correct on this. I would appreciate any feedback.
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Hi everyone and Brian, I need a help. Yes, if I can hear this as a minor track because Brian designated it to be (yes, it can be either minor or major because the 3rd is not played). The progress also seem to be same as such a famous minor song as Thrill Is Gone. My problem is I have such few stocks of minor comping ideas as I do in dominant 7 and other voicing. Come to think of it, you seem to have less options for playing rhythm for minor blues than dominant 7. Am I right? Oh, and also, how strict is the rule to stick with the minor in this Challenge?? Hide
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Hide, I’m the last person here to be able to help you with that question, lol – but it made me realize the meaning of a saying that sometimes “ignorance is a bliss”. Well, at least in my case. Since I don’t know any better, I just used the exact chords Brian mentioned and it worked, at least to my ear. I’m pretty sure Brian wants us to be in the key of C minor as he explained in this reply to my question:
Good question, and technically nothing determines what those chords should be. I actually thought about leaving this totally up for interpretation, but then I thought it would be a better lesson if I forced it as either major or minor – and that’s more of a real-world scenario. So I just went ahead and determined the chords for that reason.. so we can all be on the same page.
But having said that, do as you feel right. I’m confident you’ll come up with something awesome as you always do 🙂
♪JoLa
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OK, Thank you JoLa for this quick input. I think I will challenge myself and try to come up with somethings that’s minor. That’s why this is a “challenge” after all! Hide (P.S. I am loving the acoustic blues/rock strings you recommended. So easy to play lead, or whatever, with them. So thank you.)
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According to https://getsongbpm.com/tools/audio the BPM for this base track is 92 – this is useful to set Reaper.
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I ramped it up to 110 BPM (or 220, depending on how you count it) and then it works great for funk. You can play those alternate chord positions (a.k.a. CAGED) all up and down the neck and let your pinky run wild. Cory Wong (one of the greatest modern funk players) explains how to do it:
<iframe title=”Cory Wong’s Top Funk Guitar Tips” src=”https://www.youtube.com/embed/A01w3Bhsz9A?wmode=transparent&rel=0&feature=oembed&enablejsapi=1&origin=https:%2F%2Fwww.activemelody.com” allow=”accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture” allowfullscreen=”” id=”fitvid0″ frameborder=”0″></iframe>Great lesson, thanks!
A Blues Dude From North Georgia, US
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